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1. Palimpsest

   “Palimpsest” is an audiovisual work exploring the space between sound and image through collaboration. Two distinct narratives, audio and visual, collide to find alternative paths and perspectives around a virtual light sculpture. The piece reinterprets one of a series of photographic light paintings taken during a drive at night [see image 1]. The photographs were experiments: improvisations with long exposures, motion and gesture. As images in themselves however, the collaborators found them to be engaging both visually and conceptually. Visually they bring to mind the poetic: the camera has captured ethereal light trails drawn by the motions of passing traffic in mid-air, giving them an almost sculptural quality. They suggest contours, energies, volumes and spaces that are open to further exploration and interpretation. Conceptually, their contradictory nature seems to suggest ideas of the interstitial - the space or place in-between things - or what Duchamp termed the “infrathin”. The light-forms captured in the image, exist in-between the real and the virtual, brought together in a moment by the camera.

   Meri Alexandra Raita - 18.06.2012 - 19:22

2. Maud

   This unique performance of Tennyson’s dramatic poem “Maud” uses programming with OpenGL and other “abandonware” to produce an audiovisual reading. Part of what this work underscores is the nature of digital data, such as the words of Tennyson’s poem. Each letter, space, and line break is represented by the computer as a sequence of 1s and 0s, the on/off signals of binary code. The thing about computers is that it can then use that code to reproduce the same sequence of characters visually, or can use that code to produce different kinds of output. Sally Rodgers and Steve Jones have created a program to read “Maud” performing the poem as an audio-visual conceptual art video. But this is not simply a machine reading what it can’t comprehend, it is also a visualization tool that allows Rodgers, Jones, and us to see and hear things in the poem that we wouldn’t notice in a vocal performance or text-to-speech rendition. And it is also an instrument they have shaped and customized to produce the documented performances through videos. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 17:56

3. Postmeaning

   ose poem is published serially through a Facebook page which gathers all of its postings in its timeline since it began on February 27, 2011. The writing is surreal at times, mixing topics and language in ways that are grammatical but obeying an almost dreamlike logic, like Gertrude Stein’s Tender Buttons. Since its launching, every single one of its daily (or almost-daily) postings begins an ends with an incomplete sentence and even word, evoking a sense that it is part of a larger thought or text, yet there is no grammatical connection between any entry and the ones before or after.

   Quoted from I ♥ E-Poetry entry.

   Leonardo Flores - 23.02.2013 - 19:50

4. @frodegrytten (microfictions on Twitter)

   Hver dag fra 2011-2013 posted Frode Grytten svært korte noveller på 140 tegn til Twitter. Ofte brukes journalistiske konvensjoner, som å angi alder på personene i parantes, og nesten alltid er tematikken trist.

   Ingrid Dyrkolbotn - 17.03.2013 - 13:27

5. Justin Buber

   This anonymous Twitter account find poetry in remixing philosophy with the pop celebrity tweet.

   Hannelen Leirvåg - 08.04.2013 - 14:32

6. Any Vision

   This work is published as a video documentation of a simultaneously analog and digital poem— an instance of extreme inscription as described by Matthew Kirschenbaum. Written on a semiconductor alloy with “a focus GA ion beam” at font sizes much smaller than a pixel, requiring an electron microscope with magnification “ranges from 400x all the way to 10000x.” The naked eye cannot read this poem unaided, so the video takes us through an edited journey into the poem’s text reminiscent of Prezi, but much cooler in its materiality. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 07.05.2013 - 11:52

7. Walt Whitman

   “Walt Whitman” isn’t a bot, it is a constraint an anonymous scholar took on: to tweet a portion from the 1855 edition of Leaves of Grass (almost) every day, sequentially from beginning to end, over and over. I use the word “scholar” because of the foregrounding and choice of edition (which edition of Shakespeare is Strebel using?) and the method of the constraint which forces the scholar to read each line when cutting and pasting it. This discipline has the powerful impact of keeping the scholar’s mind focused on this poet’s work on a daily basis, re-discovering Whitman’s poetry over time, and gaining insight in the process. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 09.05.2013 - 23:24